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Well, today I listened to that first Matching Mole CD again, and the bonus disc. Not sure why, but that's got to be a top 5 Canterbury album for me.

Probably for me too. It's very clever and inventive, but doesn't beat you over the head with that cleverness. In fact it's a very subtle work, showing off (ironically) that understated quality which seems to be a characteristic of much Englishness. I love it.

"If you want to see the true nature of humanity, just look at the internet."

Probably for me too. It's very clever and inventive, but doesn't beat you over the head with that cleverness. In fact it's a very subtle work, showing off (ironically) that understated quality which seems to be a characteristic of much Englishness. I love it.

I prefer it to the second, the second side might be at but weaker but I like the way the thracks seague into each other and the spacy sound and of course David 's on piano and I might play on a drum

Unrest is also my favourite Henry Cow album and in my all-time top ten.

But is it Canterbury...?

To be fair? Not really, or at least only borderline. There were still connections, of course; they were mates with Wyatt, Hillage, Hatfields, Gong etc. But the last true drop of obvious Canterbury influence on their actual music was with Leg End.

IMHO.

"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM

Matching Mole - Matching Mole vs. Little Red Record. I used to prefer the first, now the second. More playing, less "feeling". Spoofs still there.

Hatfield & the North - H&tN vs. Rotter. I used to prefer Rott, now the debut. Something about the montage-like construction of it.

Henry Cow - Legend vs. Unrest. I used to dig them equally, but Unrest has become one of my fave records overall. It's simply astonishing.

Gilgamesh - 'mesh vs. Another Fine Tune. The second one is more self-assured, but the debut roams with semi-juvenile ambition. Fabulous.

National Health - N.H. vs. Of Queues & Cures. Debut is more perfectionist, Queues however is rawer, more powerful and more FUN.

^ I like seeing this.....good insight man. But just remember - the debut doesn't have some Greasy Spoon Chaos, Underdub, Fitter Stoke or Mumps . I agree on the others, and great breakdown on The two National Heath albums - that nails it and is enjoyably pithy.

Matching Mole - Matching Mole vs. Little Red Record. I used to prefer the first, now the second. More playing, less "feeling". Spoofs still there.

Hatfield & the North - H&tN vs. Rotter. I used to prefer Rott, now the debut. Something about the montage-like construction of it.

Henry Cow - Legend vs. Unrest. I used to dig them equally, but Unrest has become one of my fave records overall. It's simply astonishing.

Gilgamesh - 'mesh vs. Another Fine Tune. The second one is more self-assured, but the debut roams with semi-juvenile ambition. Fabulous.

National Health - N.H. vs. Of Queues & Cures. Debut is more perfectionist, Queues however is rawer, more powerful and more FUN.

Way cool and insightful, Richard my man. Thanks for sharing. It's still Rotters all the way for me, but the first Hatfield is pretty darn amazing in spite of that.

Tonight I'm drinking a Belgian dubbel-style ale and listening to Matching Mole's Little Red Record. You're right in that it has more "playing" on it, and while I'm still more fond of the first MM record personally, this one has grown on me quite a bit. Righteous Rhumba is a killer, and Marchides is not far behind. Do you have the Esoteric expanded editions of both MM albums btw?

Regarding Gilgamesh, Another Fine Tune is the one I'm more familiar with and it's good, but the first one (which I just got within the past week or two ) definitely has some callow charm to it, doesn't it?

And I still need to get some more Henry Cow -- Legend is the only one I have.

Probably for me too. It's very clever and inventive, but doesn't beat you over the head with that cleverness. In fact it's a very subtle work, showing off (ironically) that understated quality which seems to be a characteristic of much Englishness. I love it.

I think you hit the nail on the head with regard to its "Englishness" and understated character. It's such a charming collection of songs, and something that could only ever come out of England. One of those rare records that I truly never get tired of.

To be fair? Not really, or at least only borderline. There were still connections, of course; they were mates with Wyatt, Hillage, Hatfields, Gong etc. But the last true drop of obvious Canterbury influence on their actual music was with Leg End.

IMHO.

Yes, Leg End is only Henry Cow album where I hear distinct Canterbury influence or sound.

Yes, Leg End is only Henry Cow album where I hear distinct Canterbury influence or sound.

In their official output, Yeah. But their earliest work (1969-72) was apparently very informed by Softs anno Volume Two, Wyatt's End of an Ear, by Coxhill and (according to Frith) the more "out" things on Ayers' first couple of albums etc.

Another of those vintage HC recording, "Rapt In a Blanket", also displays Frith's penchant for singer-songwriters then on-the-rise, like Michael Chapman and John Martyn. Frith was a regular attendant in the folk clubs of the day, so that's no surprise. But I suppose such decadently egocentric warble would not become kosher with the ensuing HC Marxist collective.

"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM

In their official output, Yeah. But their earliest work (1969-72) was apparently very informed by Softs anno Volume Two, Wyatt's End of an Ear, by Coxhill and (according to Frith) the more "out" things on Ayers' first couple of albums etc.

Good point! I did not think that even though I have the box set which has some of the early stuff. Need to relisten!

That was really good and really close. I’m not 100% convinced on some of the chords he came up with, but JEEEEZ, he definitely got a lot of them and he totally nailed the single note lines. WOW.

Seeing this really brings home what ridiculously weird and unique choices Phil made in terms of notes and note placement. He was truly a complete original. It made me miss him more than I already did.

Agree on all points. I wish he would have done the cool line with Sinclair at the very end of the 23/27 section, but still....

I was watching this last night just blown away by how Phil came up with these parts (besides the obvious notated stuff). This really demonstrates the brilliance and creativity of both Dave and Phil. One of my new favorite YT videos

This thread spurred me into putting together a big ol' playlist that I've been listening to for the past three days now. (iTunes tells me it's 441 songs and 1.6 days long.)

Usual stuff. No full albums (besides Volume 2--sort of need all of that).

A few surprises, too. Tracks from Ascended Masters, Michael Giles' solo album Progress, a bunch of John Greaves, Kevin Ayers' final album Unfairground, some Supersister--all have meshed in nicely alongside the classic Caravan and Hatfield tracks.